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Artist | Maker Profile: Betsy Bull

Posted on: Friday, June 27, 2014

'Enclosure' by Betsy Bull

Sometimes the realm of Tumblr can yield amazing finds. It was with great pleasure that I recently discovered the work of fiber artist/designer/student, Betsy Bull, a few weeks ago via her inspirational and intuitive flow of images.
Laser-cut and machine knitted forms by Betsy Bull

Since then we have been in touch via e-mail, and I was really happy to discover Betsy's new website and chat a bit. I love the way that Betsy navigates between the realms of the analog and hand-made. I particularly love the marriage of laser-cut and machine-knitted forms.
'Constricted Shroud' by Betsy Bull
My work aims to invoke a sense of wonder through transformation – B.B.
'Constricted Shroud' (Bird's Eye View) by Betsy Bull
"As an artist, this aim is realized through exploration of material and process. Utilizing modern technology and traditional techniques I challenge material limits, always taking another step, further, further. These explorations culminate in work that navigates between the analog and the automated, hand and machine. " – B.B.

Betsy Bull's waffle weave project on a 'baby loom'

Machine-knitting sample by Betsy Bull

You can view more of Betsy's work here

Her studio process shots and recent travel photos on Instagram are quite wonderful as well. 

Lost in Fiber | Interview | Brece Honeycutt

Posted on: Monday, June 23, 2014

Brece Honeycutt has the midas touch with colonial living, drawing, eco-prints,
natural fibers, slow handwork, and organic studio methods
(studio photographs by Abigail Doan | September 2013)

As Lost in Fiber transitions to the artifact stage (in terms of documenting and synthesizing materials gathered from various contributors' studios), I was curious to understand more about the inspirational objects that various makers surround themselves with and the creative ways they populate and become immersed in their unique studio environments.


Brece Honeycutt's rural studio offers a new twist on modern 'domesticity' and 'farming'

My visit with artist friend Brece Honeycutt last autumn left me wanting to know more about her day-to-day musings as well as her process-centric relationship with materials and tools be they ancient, historic, or contemporary. I follow Brece's impeccably researched and thoughtfully written blog, On A Colonial Farm, but I wanted to also learn more about how she melds the past with the present in a way that reflects the spirit of a modern gathering.


A slow moment of light on fiber, tools, and webs in Brece's studio

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?


BH: My great-grandmother's peddle sewing machine; old woven wire mesh fish traps; a complete box set of Laura Ingalls Wilder's Little House Books; a mended piece of rusted metal fencing (darned with wire); and a bowl of handwrought nails saved for me by my husband when he re-clad our house.

Aggregates and Cumulative Topographies

Posted on: Monday, June 09, 2014

Sophie Bouvier Ausländer | The World (2012) created out of shredded world maps

Tara Donovan at Pace Gallery | Menlo Park (via designboom)
'untitled 2014' created out of styrene index cards, metal, wood, paint and glue

detail of Donovan's 'untitled 2014' (via designboom)

Kathryn J Armstrong's 'Forget Me Not' (2013) via Things Organized Neatly


Laura Lyn Jansen's CaCO3 stoneware via thisispaper

Projects that make me dream and contemplate modern (material) boundaries.

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